Complex products deserve more than flat photography. They’re incredible pieces of engineering that need showcasing in the right way. But in the industrial and manufacturing world, your innovations are often hidden deep inside larger systems, sealed within housings, or simply too large, too dangerous, or deployed too remotely to film. Yet you still need to explain them clearly, quickly, and convincingly.
That’s where 3D can give you a competitive edge. Today’s buyers expect clarity. They expect interaction. They expect to see how something works, not just read about it. 3D empowers us to tell those stories with precision, creativity, and control.
In essence: 3D helps technical buyers understand technical products fast.
Explore more of its advantages in a bit more detail: https://www.proctorsgroup.com/knowledge/3d-how-it-gives-industrials-and-manufacturers-a-competitive-edge
Let’s imagine a scenario: you’re thinking about taking a virtual leap into 3D, but you’re nervous:
All valid concerns, but we’re here to tell you that incredible results can be achieved using clever tricks and tech. At Proctors, we’ve honed workflows that make budgets work harder and help keep costs low. Now, there’s a fair bit to it (and we’ll get into that) but at its simplest, what it really boils down to is this: Reduce, Reuse, Recycle. To avoid TLDR*, we’ll give you some top line good practice tips straight out of the gate.
Getting the most from 3D in your campaigns is dramatically improved by observing these basic principles:
So that’s a good start, but let’s delve a little further into the specifics of our RRR approach.
(AKA Transformers – assistants in disguise)
Artificial Intelligence (AI) models, in particular Diffusion Transformer (DiT) models, have been creating a lot of noise (and then turning conversation-starting images) all under the moniker of generative content. But there’s another much less in-your-face – and I would propose, more useful – revolution going on. AI that can be your reliable, efficient and cost-effective 3D assistant.
We use AI to reduce the polygon count (total number of surfaces) of 3D models. And this can often be achieved with a few mouse clicks, not the usual days of manual optimisation – for many situations it’s nearly impossible to tell the difference.
On top of that, we can now use AI to generate textures. Tools built into Blender iterate through hundreds of examples before we’ve even loaded our usual go-to texture sites. And that’s before we even get to Ubisoft’s new free CHORD AI model for generating PBR textures from images. It’s currently only available for non-commercial work, but you can guarantee an open source version will be following soon.
What about converting still images to 3D models? It’s far from perfect, but it can be a great place to start. Using it as a starting to point for you basic proportions, you can then re-topologise (draw over the top) a nice accurate 3D model. It’s kind of like quickly sketching in pencil to get the shape and proportions right and then doing fine pen work over the top. And to be honest, if the model isn’t the focus of your film then you can often sneak it into the background and it’s perfectly usable straight out of the AI.
Or simply using AI to ‘denoise’ (remove the grain) from your renders, meaning you can render to a lower quality, therefore it’s quicker, and have little to no perceivable difference from a longer high-quality render that doesn’t use AI noise reduction.
We appreciate AI can seem like a bit of a marketing buzz word at the moment (who knew a mattress needed AI?), but when used as a personal 3D assistant, AI is offering real world benefits. It can make your work look better and heavily reduce production times and costs, all while using tools that are surprisingly cheap or free.
And one last sales pitch, we can help you run lots of this locally. No changing terms of service and expensive user agreements. And most importantly, none of your data being sent to external companies.
Essentially, there are three types of 3D models:
Often, you already have the 3D files for your manufacturing products. Using a combination of manual work and AI, we can convert these files into photo-real and interactive-ready models in hours, not days. This negates the need to create a 3D model from scratch. Having a high-quality model to start from saves a huge amount of time, particularly when combined with AI to take some of the optimisation off your hands. Throw in a combination of AI texture generators and you’re halfway towards your finished production.
You booked the shoot, gathered the team on set, ironed out the perfect edit and finally published your new video on all your social platforms. So, the last job is to save the final film, delete all the other files and forget about it, right? Wrong.
All too often, this is the way we see 3D assets being treated: created for campaigns and then being buried on a hard drive never to see the light of day again. In the same way you’ll re-edit your films for different channels, or use pieces of footage across different films, 3D files should be thought of in the same way.
Before we moved into our lovely new offices in Bristol, we created a quick walkthrough animation to check the proposed layout from the building plans. We modelled it super quickly, creating a massive file of a few gigabytes – rendering times were not a concern here.
A few years later, we ran a CSR campaign talking about some of our activities. We wanted to put our office model online and make it interactive so people could explore our building and find out more about what we had been up to. We knew even the most hardened CSR fans wouldn’t wait for a few gigs to download so we needed real-time rendering that was super responsive. Using a combination of AI and manual optimisation we took our existing model of a few gigs down to a much more mobile and internet friendly 10mb.
Here’s some ways we put this pipeline into practice for our clients:
For the launch of a flagship laptop model, we quickly removed the internals (essentially anything that wouldn’t be visible from the outside) from a supplied manufacturing model. Then we ran it through an AI model to automatically reduce the polygon count with no visible difference. Re-using the manufacturing model meant we could move to the texturing and animation stages near enough instantly, removing the need to eat up budget on modelling the TOUGHBOOK from scratch.
Again, a manufacturing model was supplied, helping to speed up what could have been a long 3D modelling process.
For this project, the manufacturing model wasn’t available. Instead, we utilised AI to turn one still image into a 3D model. The model was far from perfect, but as a starting point with the rough dimensions it proved invaluable in reducing 3D modelling time.
3D doesn’t have to mean expensive, slow, or one-and-done. With the right workflows, you can:
At Proctors, we help brands, manufacturers, and B2B businesses unlock the full potential of 3D – turning what could be a one-off cost into a long-term strategic investment.
If you’d like to talk to us about the potential of 3D for your business, get in touch with us at [email protected].
A few weeks ago An Dara Saol a nabbed the Short Form award at the RTS West of England Awards!
Apart from feeling royally chuffed, it’s just such a relief to have some recognition for our hard work.
This project was years in the making. Hundreds of conversations, endless script drafts and a graveyard of brilliant ideas. We also had plenty of impossible ideas that somebody, somehow, figured out how to pull off. (🤫 that’s us!)
The absolute best part about this whole project was working with our client.
The team at Saol Media trusted us enough to give us the creative keys early. They didn’t just slide a finished script across the table and say, “Hey, make this look pretty.” We actually got in the trenches together. Wrestling with the story, ripping things apart (physically and metaphorically), simplifying and rebuilding, and then doing it all over again.
What birthed out of that turmoil was a beautiful 5 part series that tackles some mature and heavy questions for teens without feeling boring. It’s honest, accessible and hopefully a lot of fun to watch.
We never just want to make things look cool. We want to help people figure out what they’re actually trying to say. Lots of people have wonderful ideas but getting those ideas to connect, resonate and getting people to actually care… that’s the hard part that we’re interested in.
Working on An Dara Saol was a reminder that the best productions are bit like conducting an orchestra, it only works when everyone is working as one.
A huge shoutout to everyone involved, especially the team at An Tobar Nua for having the guts to back a bold idea and stick with it to the very end. And a big thanks to RTS West of England for the kudos!
Now we’re off to find somewhere to put the award where it looks impressive on video calls.
I once pitched on a dream comedy advert for VW and didn’t win. It was ok, because I was up against my comedy hero Harold Einstein. If you’re going to lose, lose to the best.
The idea was in very safe comedy territory. For my pitch, I felt it was my duty to punch it up and make the humour work harder. I just knew I had to go big to take on Harold, I could only imagine what he was concocting.
It turns out that pushing the humour was my undoing, as the client was very resistant to my ‘wacky and slapstick’ suggestions (the heathens). To my surprise, Harold didn’t push the concept at all. His light touch enabled their idea and he was chosen to direct the ad.
The big question for me at the time: how would Harold bring his comedic genius to elevate a (sorry to say it) middling comedy concept?
The answer: he didn’t.
Despite the world-class directing talent and a huge budget, embracing safe territory placed hard limits on the ads’ creative potential. The end result was forgettable. It’s possible that some people like it, but what I know for sure: no one would watch Mr Einstein’s incredible portfolio of work and pick this as one of his best. Far from it.
Wouldn’t it be interesting to see a version of that VW ad that didn’t force the direction to stay within such safe territory? What if we could step into a parallel universe and see the film that could have been?
This is why the release of the Rolls-Royce brand film ‘Aerospace’ is so interesting.
Unusually, there are two distinctly different versions:
This is the client cut, the version of the film the brand wanted. While it isn’t bad by any means, I think it is fair to say this version is not going to feature on Frameset’s carefully curated Instagram page any time soon.
Putting it bluntly, the client cut pales in comparison. It’s safer, more ordinary, and the creative in me is in awe at the damage that has been done by the changes. Something so masterful has been reduced to serviceable – I gasped when I first saw it.
Director’s cuts of adverts are nothing new, they often extend the runtime, or include a few extra shots that the client version had no time for. A nudge towards a purer version maybe, but this was something else. The difference is staggering.
So, what happened here? I can only speculate, but what is clear is that the director and client couldn’t align on a single version. If you’re being charitable, maybe that’s fine. The client gets their version, the director gets their’s, everybody wins? To this I say, no. I don’t think it’s that simple.
I think sometimes a director can get a bit big for their boots. If you’re directing you have a job to do and Rolls-Royce had a brief. Part of that brief would have included messaging and a tone of voice that aligned with the core tenets of the brand. A black and white minimalist art film does not serve those purposes, no matter how good it is.
I also have to sympathise with a paying client, who must have realised at some point that the director they paid for is flaunting a wildly different alternate version of their film. That would sting wouldn’t it? It would make me wonder, which version of the film had their real focus and attention when I hired them to make it?
So, the director must always follow the brief? Well no, it’s not that simple either.
A director’s job is a delicate two hander: make a good film and collaborate with the client. It’s a careful balance, incorporating feedback and changes, managing expectations, choosing when to embrace suggestions and when to resist, whilst keeping the creative integrity intact.
The challenge is knowing when the client feedback crosses a line. A note that causes such creative harm that no ingenuity can stop it from making the film measurably worse. Remember part of the job is to make a good film? How do you do that if the powers that be are harming it? It becomes a paradox.
Were the changes you see in the client’s version a bridge too far for Gustafsson? The irreparable harm that forced him to abandon ship and embrace the freedom of a client-less edit? Or should he have stayed the course? Was it his duty to collaborate and compromise, embrace changes and win the client over with his vision? These kind of dilemmas present themselves on every kind of project with a creative/client relationship, there are no easy answers.
This all leaves me desperately curious… when did the divergence between the director and the client happen for Rolls-Royce? Was it a late creative decision to embrace a reskinned director’s cut after the project was finished? (I doubt it, based on how well-realised the director’s cut is). Or could the black and white version have made it all the way to final sign-off, only to be derailed with a last-minute client change of heart? I can imagine the email now, “it’s all a bit too dark, can we brighten things up a bit?” Perhaps from a key stakeholder weighing in far too late… If this was the case, I can only imagine the pain.
Is there a master director out there somewhere…? A legendary creative force who could have skilfully incorporated Rolls-Royce’s changes into the director’s cut without losing the magic? To create a third version that fulfils the Rolls-Royce brief and thrills the Frameset crowd? Ideally yes, but I think that’s a pretty tall order.
Like the mighty Harold Einstein working with VW, a director’s creative powers can only go so far.
by Sam Buchanan, Rabble Films
On Thursday 14th May, Rivals cast Katherine Parkinson, Annabel Scholey, the creative team from Happy Prince, The Mayor of the West of England, RTS West of England and The Bottle Yard Studios hosted a special screening and panel in Bristol , in celebration of the regional impact of production in the area.
Production of the hit Hulu Original series, based on Dame Jilly Cooper’s beloved Rutshire Chronicles, is based at The Bottle Yard Studios (TBYS) in Bristol. With 95% of the locations featured in the series filmed within a 30-mile radius of TBYS, across Bristol, Bath and North East Somerset, South Gloucestershire and North Somerset, all supported by a network of Film Offices across the West of England. The hit series is produced by Happy Prince, part of ITV Studios.
Speaking ahead of the event, Deborah Armstrong, Country Manager, The Walt Disney Company UK & Ireland noted: “Rivals has captured the attention of the nation whilst showcasing the very best of British and Irish talent across cast, crew and beyond. The West of England, and Bristol in particular, have been integral to the show’s success.
“Disney is proud of the role we play in Bristol’s thriving creative ecosystem. Our presence spans the production of local Originals such as Rivals and National Geographic documentaries, as well as bringing audiences together through live experiences, including our recent sell-out stage show, The Greatest Showman.”
Helen Godwin, Mayor of the West of England, said: “The West Country is proud to be the real-life Rutshire, somewhere seen by people all around the world – and something which is inspiring more visitors to come to, and fall in love with, our region.
“We should celebrate the immense on-screen and off-screen talent that goes into making programmes like Rivals, and so it was really special to bring together so many of the people who made this production possible. Like Her Majesty The Queen, I was blown away last year while visiting Dame Jilly Cooper’s unrivalled universe first-hand at The Bottle Yard Studios in south Bristol.
“The economic impact of filming TV is huge for jobs and businesses in the West of England, which we want to super-charge through our new £25 million Creative Places Growth Fund. Rivals being made here has directly and indirectly helped add millions of pounds to the country’s fastest-growing regional economy. We look forward to continuing to work with Disney+, Happy Prince, and ITV Studios in the future to create more magic in our part of the world.”
Katherine Parkinson, West of England Mayor Helen Godwin and Annabel Scholey at the Rivals S2 Bristol Premiere (Photo Credit: Disney / West of England Mayoral Combined Authority / Freia Turland)
In a speech welcoming guests, including the Tourism Minister and the British Film Commission, to the West of England, the Mayor praised the Bristol City Council-owned Bottle Yard Studios and the network of supportive Film Offices run by local councils across the region, and the impact of skills programmes like All Set West – which saw local trainees take their first steps in the industry working on Rivals, learning from world-renowned cast and crew. She also made a plug for a pair of Rivals’ iconic red heels to find a home in Bath Fashion Museum when it reopens in the coming years.
Alexander Lamb, Executive Producer, Rivals and Creative Director at Happy Prince, added: “Both Rivals series 1 and 2 were entirely made possible by the talent, ingenuity, tenacity and good humour found in the West of England. Just like Declan O’Hara’s Venturer Television, Happy Prince are committed to showcasing the very best of the region, to bring its perfect locations and the work of it’s gifted crew to screen for the rest of the world to enjoy. We are eternally grateful for the continued warm welcome afforded to our cast and crew and hope to be making further series of Rivals in the West of England for many years to come.”
The Bottle Yard’s Head of Studios, Katherine Nash adds: “Rivals is a flagship scripted title for Bristol and the West, and what a pleasure it has been to celebrate this with Disney+ and the show’s brilliant cast and creative team this evening. A returning booking of this calibre is what every Studio and filming region aspires to secure and is testament to our world-class facilities and the responsive support of our Studios Team and regional Film Offices from early prep through to wrap.”
“Welcoming Happy Prince and ITV Studios back for Season 2 was an honour made all the greater by Her Majesty The Queen’s set visit during filming. The benefits this international hit is bringing to our film sector are substantial; from local crew and supply chain engagement, to supporting industry entrants through All Set West, spotlighting our stunning locations and driving wider economic spend across the region. The Bottle Yard is proud to be Studio home to Rivals, a West Country success through and through.”
Rivals S2 is streaming from 15th May on Disney+.
Building your first motion design portfolio can feel pretty overwhelming: should you play it safe, be radical, or stick somewhere in the middle? And what do you even include!?
Now, there’s a school of advice that tells you to be bold, expressive, and push the creative boundaries… But that can feel unhelpful, vague and, frankly, a bit intimidating.
Luckily, we’ve put together some more down-to-earth advice from people who’ve been in your situation and on the other side of the desk making the hiring decisions.
We’ll clue you in on what will stand out to prospective employers and none of it involves setting off fireworks or hiring a dance troupe (although if that’s your thing, don’t let us stop you)!
It might sound a bit over the top, but you need to start thinking of yourself as a bit of an entrepreneur. (I’m aware I’m sounding very tech bro here but stick with me…)
Start by asking yourself some key questions:
In simple terms, if you include a slick explainer video then you want your potential employer to look at it and go, “That’s what our clients need!” Because beyond being a brilliant creative, what it boils down to is employers envisioning a roster of happy clients willing to pay for lots of (your) work.
A real-world-ready portfolio is simpler to curate than you might think – it’s all about breaking it down into stages.
Showreels are a motion designer’s best weapon: you can show off a lot of work in one go. However, that doesn’t mean you should include everything you’ve ever made. Quality always trumps quantity here so only include the best scenes from your best work but consider whether your clips are demonstrating the complete range of your skills.
A good tip to help with this is to make sure you show off your editing and sound design skills. It can’t be stressed enough how much of a difference sound design can make. And the best part? So few people do it, so it’s an easy win that’ll really give you some edge!
Include any group projects if you have them, just make sure you’re clear on what your input was. A simple way to do this would be to add some small text in the corner while you’re showing clips from the project, for example: “Project XX -Illustration and animation” or “Project XX – editing”. Not only will this help prospective employers get a quick sense of your capability but also enforces your ability to work as part of a team.
And, as I was saying before, make sure to focus the work on those sellable skills: think explainer videos, motion for branding, video editing, 3D and so on.
If you’re still struggling on where to start, go onto the websites of the companies you’re applying to and look at their services. Does your work align with them and what they’re doing?
As much as I enjoy looking at finished motion graphics projects, unfortunately that’s barely 1% of a motion designer’s job. The other 99% is the process. Mood boards, sketches, storyboards, animatics, drafts etc are the job.
This is the section where the goal is to build trust with clients that you can actually do the job they’re hiring you to do. Like before, keep it concise and choose two or three projects that you can break down and explain how you got to the final outcome. Keep in mind these are also the projects they’ll most likely ask you about in your interview too.
The process behind our advert for Daikin’s sustainable network
This is also where you have the opportunity to tailor your portfolio. Do some research into the places you’re applying too, for example if it’s an agency, what services do they offer on their website? And if it’s a business, what sector do they work in? Then use this information to choose what work you show. Let’s say that creative agency focuses on branding, try to show some work that demonstrates you’ve got it covered, like logo animations, brand videos, or motion guidelines.
Whether or not you were confident enough to post yourself dancing on the internet back in lockdown and have grown a decent sized audience, leading with your social media accounts might not be the best idea in your portfolio.
If whoever is looking through your work clicks through to your profiles, you will have no control on what they look at. And that undermines all the careful work you’ve put in to crafting your application.
And let’s not forget when Instagram suddenly decided to change all posts to a different ratio (I don’t think many social media managers have still fully recovered from this). What I’m saying is, it’s not worth leaving how you show you work to platforms that can change overnight.
Now I’m not saying completely avoid AI altogether; to be honest a lot of companies will be looking for how you’re utilising it in your workflows.
Unsurprisingly, the recent School of Motion’s report, ‘The Motion Design Hiring Guide’, showed AI skills to be the fastest growing skillset employers ask for. And, far more interestingly, it came with an estimated~8-18% increase in wage.
In the creative industry, we’ve been working with AI for years (well before Will Smith attempted his first mouthful of spaghetti), so if you’re using AI in your final outcomes, we will be able to notice. And that includes in any supporting text too. Again, I’m not saying don’t use these tools, just be transparent when you are – and always avoid the press-a-single-button slop.
In short, treat your portfolio as your pitch. It’s not just a gallery of nice work; it’s proof of what you can offer. The clearer that is, the easier it is for someone to trust you and, ultimately, to hire you.
If you’d like to find out more about what we can do then take a look at our work or get in touch at [email protected].
Omni Productions is proud to announce that its impactful project, “AXA Safe Spaces,” has been named the winner of the Social Change category at this year’s Brand Film Awards, run by prestigious industry publications PRWeek and Campaign. Created for global insurer AXA, the project took top honors in a highly competitive category, successfully beating out exceptional shortlisted documentary series including inDrive and TED: My Big Idea.
AXA Safe Spaces is a pioneering web-based awareness and training program developed to help employers and employees create safe and supportive workplaces for people affected by domestic and sexual abuse.
While the website was initially created for internal use at AXA, it has now been made freely available to all employers and individuals globally. The program provides ready-to-use resources based on the practical 3R methodology: Recognise, Respond, and Refer. Through real-life stories and expert insights, the training equips individuals to recognise the signs of domestic abuse, respond with empathy and practical support, and accurately refer victim-survivors to appropriate professional services.
The initiative has already scaled significantly. AXA Safe Spaces is currently accessible worldwide, available in 11 languages, and has secured endorsements from major multinational companies including Accor, L’Oréal, Engie, Orange, Publicis, and LVMH. Building on the momentum of this award win, the team is actively working to expand the project’s global reach.
Work is currently underway to launch new versions tailored for the Korean and Turkish markets. Additionally, Omni Productions and AXA are currently developing a comprehensive set of FAQs for the site designed specifically for businesses and organizations, helping them better understand how to roll out the resource and effectively support their people.
For more information and to access the training, visit the AXA Safe Spaces platform.
Creative production company JonesMillbank and film studio Nine Tree Studios have rebranded as BLANKET™, bringing their offerings together under a single, unified identity.
The rebrand marks a significant milestone for the Bristol-based agency as it enters its 15th year, reflecting both their evolution and a growing demand for integrated production, studio, and equipment rental services.
“We found that studio clients didn’t realise we offered production or kit rental, and many of our production prospects didn’t know we had a studio,” said Russell Jones, Founder & EP. “The separation no longer made sense – it was time to bring everything together along with a complete refresh.”
The new brand, BLANKET™, reflects the agency’s holistic offering across film production, studio hire, and equipment rental, while positioning the agency more clearly within the wider creative and production landscape.
“We wanted something confident, distinctive, and easy to engage with,” said Rob French, Creative Director. “BLANKET is human, tactile and approachable, but also strong and flexible – something that reflects how we’ve always worked and where we’re going.”
The rebrand also signals a shift in how the agency operates. As projects have grown in scale, BLANKET™ has increasingly collaborated with freelance specialists and production partners, including supporting international production companies filming in the UK.
“Collaboration is already a much bigger part of our creative process,” said Adam Millbank, Founder & EP. “Whether it’s larger productions or studio dry hire, we’re working with a wider network of talented crew – from camera operators and gaffers to HMU, catering and runners. That’s only going to increase with the new brand and as the studio continues to become more established.”
BLANKET™ will continue to operate from its Bristol studio, serving clients across the UK and Europe, with a focus on commercial film production and studio-based work.
***
BLANKET™ is a Bristol-based film production company, film studio, and kit rental house. Founded in 2011, the company works with brands and agencies across the UK and Europe including Dyson, Freixenet, DHL, Oxfam, Pukka and Vax.
www.weareblanket.com
+44(0)117 3706 372
[email protected]
Bristol Film Office has been shortlisted for the Film Commission of the Year Award (City/Region) at this year’s prestigious Global Production Awards.
Presented by Screen International, the industry awards take place annually to celebrate outstanding and sustainable work in the international world of film/TV production, locations and studios. Winners of the 2026 Global Production Awards will be announced on 18th May at the official ceremony at Cannes Film Festival, France.
The category recognises a film commission based in a city/region with “an established international reputation for exemplary service to productions, and a top filming destination of choice.” Judges look for evidence of “the Film Commission’s efforts to attract filmmakers, problem-solving approach, customer service, creativity, community contribution and why the location is proving so popular.” Also shortlisted in the category are Dallas (US), Edinburgh (UK), Humboldt-Del Norte (US), Ottawa (Canada), Savannah (US) and Toronto (Canada).
Councillor Tony Dyer, Leader of Bristol City Council, said: “This nomination is a testament to the strength of Bristol’s film and television sector and the outstanding work of the Bristol Film Office. Our city offers a unique combination of diverse locations, experienced crews and a supportive, film‑friendly approach, which continues to attract major productions from around the world. We are proud to see Bristol recognised internationally as a leading destination for film and TV, and of the role the screen industry plays in our creative economy.”
Adela Straughan, Bristol Film Office Manager (Bristol City Council), said: “We’re absolutely delighted to be shortlisted for this award. The volume, scale and quality of productions filming in Bristol year on year reflects the city’s continued appeal as a place to film, supported by a unique combination of diverse locations, strong studio infrastructure and an incredibly skilled local crew base. As a Film Office, we’re committed to championing these strengths while delivering a consistently high level of service and adding real value to every production we support. We’re proud to see this work recognised by the Global Production Awards.”
A division of Bristol City Council’s Film Services, Bristol Film Office has been assisting film and TV productions of all sizes to film smoothly on location in the city since 2003. It provides bespoke support at all stages of production, assisting with everything from initial location and crewing advice to recces, filming permits for Council-owned land, property and green spaces, and logistical requirements including street closures and parking, liaising with other Council departments. It also works closely with Visit Bristol to increase screen tourism in the city.
Throughout the Awards’ qualifying period (Sept 2024 – March 2026), a total of 18 High‑End TV productions supported by Bristol Film Office were broadcast, including Down Cemetery Road (Apple TV+), Young Sherlock (Prime Video), Rivals (Disney+), The Forsytes (5/Masterpiece), Agatha Christie’s Seven Dials (Netflix), The War Between the Land and the Sea (BBC/Disney+) and Prisoner 951 (BBC).
Image: Young Sherlock (Prime Video) films on Broad Street, Bristol. Credit: Dominic Parker
Set and filmed in Bristol, Surviving Earth, the debut feature from writer/director Thea Gajic, will be released in UK cinemas on 24th April 2026.
Based on a true story, the film is set in Bristol in 2015, and follows Vlad (Slavko Sobin), a Yugoslav refugee and gifted musician who fled to the UK in the 90s. Now rebuilding his life in Bristol, he longs to be the father his daughter Maria (Olive Gray) deserves, but the shadows of his past refuse to fade. When he forms a band to reconnect with his roots, music becomes his lifeline – a fragile bridge between who he was and who he wants to be. But as difficulties arise, old habits begin to resurface and Vlad risks losing it all. Can he find redemption through love and music, or will the past drag him down once more?
With the film’s lead character based on writer/director Thea Gajic’s father, Bristol Film Office supported Location Manager Andy Moore to gain access to as many of the real streets and buildings in the script as possible, including Clifton Village, the Corn Exchange, Clifton Downs, and four music venues in the city, including The Jam Jar and Thekla.
Describing the filmmaking experience, London-based writer/director Thea Gajic, a 2024 Screen International Star of Tomorrow, said: “The decision to film in Bristol was never in contention. Our story is set there, my dad lived there and it’s the city that holds the spirit of our film within its streets, culture and landmarks. We scouted lots of different locations, particularly Bristol’s extensive music venue scene. For our live music scenes we landed on Zion Community Cafe, The Jam Jar and Thekla – the latter two of which my dad and his band actually played on stage at. After wrapping in The Jam Jar, one of the venue staff was kind enough to gift me a poster from their gig.
“I really enjoyed transforming the old, unused offices at The Corn Exchange into our work-place set. Having access to film inside such an iconic location, full of true history and character was a real treat for us all. Bristol was ultimately another character in this film, its vibrancy informed our camaraderie, and its community adorned the film in ways another city couldn’t. I feel proud to have added to the memory bank of my father by choosing to shoot this film in Bristol and having met so many brilliant people along the way.”
Natalie Moore, Bristol UNESCO City of Film Manager says: “Although set in Bristol, Surviving Earth’s universal themes are relevant to audiences the world over, and as important today as any other period of history. Human resilience, healing through creativity and community, the shadow of trauma cast by war that impacts so many refugees forced to flee their countries for cities like ours, are all touched upon in this powerful film. We hope audiences in Bristol and beyond will go to the cinema to watch this poignant story, made in our city.”
Surviving Earth had its World Premiere at SXSW 2025 and was officially selected for San Francisco International Film Festival. It had its UK premiere at Edinburgh International Film Festival 2025 in July and went on to screen at Encounters Festival 2025 in September.
Surviving Earth is written and directed by Thea Gajic and produced by Aleksandra Bilic (My Accomplice) and Sophie Reynolds (Sona Films) with Jamie Clark (My Accomplice) executive producing, alongside Farhana Bhula and Louise Ortega. It is made with backing from BFI and Film4 and distributed by Metis Film.
Surviving Earth opens in UK cinemas on 24th April 2026.
(Image courtesy Metis Films)
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